Storm Patterson is a festival manager with over a decade of experience delivering world-class film festivals and cultural events. She has held key production roles with Sundance Film Festival London and the British Film Institute (BFI), where she led projects such as the London Film Festival’s Expanded Realities strand and the inaugural Film on Film Festival. Her expertise also extends to work with film archives, theatres, art galleries, and smaller community-focused festivals.
Driven by a passion for film and innovative events, Storm specialises in producing inclusive, high-impact experiences that connect audiences and celebrate the power of storytelling.
Q: Tell us a little bit about your journey to working in film festivals. Did you always want to work in this industry?
I didn’t always know I’d end up working in film festivals, though I’ve always loved film. Looking back, it makes perfect sense. My career began in theatres, art galleries, and even music and book festivals—anywhere people came together to share stories. Moving into film festivals felt like a natural evolution. I’ve always been drawn to the energy and organised chaos of live events, but film elevates storytelling to a whole new level. It has the power to connect people across borders, time, and experiences in such a powerful way.
Over the past decade, I’ve worked across a fascinating mix of roles. From producing an archive film festival—where we screened the oldest film print ever shown to UK audiences—to managing the London Film Festival’s Expanded Realities exhibition, which pushes the boundaries of immersive storytelling and technology. I sometimes joke that I’ve been “collecting niches” in the industry, but in reality, these roles bring together everything I love: storytelling, logistics, and problem-solving. It’s been a wild and rewarding ride so far.
Q: What do you love about working in film?
Film has a unique power to captivate and inspire—whether it’s watching an audience react to the beauty of nitrate film, seeing someone completely transported by an emotive XR experience, or helping a young creative get their first big break in the industry. The way storytelling evolves and impacts people is endlessly inspiring.
But it’s not just the “big” creative moments I love. Behind the scenes is where I really thrive. Managing a team of volunteers, negotiating with suppliers, and seeing months of planning come together? That’s where the real joy happens. There’s nothing quite like standing in a packed venue, looking around, and thinking, I helped make this happen.
Q: What’s the best piece of advice you’ve ever received?
“Stay adaptable, and never underestimate the power of a strong team.” Working in festivals means expecting the unexpected. A venue hiccup? Last-minute programming changes? A filmmaker who’s wandered off to the wrong screening? It happens. The trick is staying calm and flexible—there’s always a solution, even if it’s unconventional.
The real secret, though, is the team. A strong, supportive team can turn even the most chaotic situation into something manageable. I’ve found that true brilliance emerges when you trust and empower the people around you to shine.
Q: What are some of the biggest challenges you’ve faced?
Events are a whirlwind of challenges: balancing complex budgets, managing tight timelines across departments, and coordinating staff across multiple venues can feel like spinning plates. Ultimately, challenges are part of the job, and I’ve learned to meet them with a mix of pragmatism and humour. You’d be amazed what a smile and a spare roll of gaffer tape can fix.
One area I’m particularly proud of is championing accessibility and inclusion. When working in the archive, I co-curated Disabled Britain on Film, a programme spanning 100 years of disability representation, alongside the brilliant Graham Findlay. It was a powerful reminder of how storytelling can shed light on underrepresented voices. I also consistently push for festivals and events to be as accessible as possible and that is something you still have to constantly fight for in our industry unfortunately, as there is not enough knowledge about best practice.
Q: What’s next for you?
I’m excited to keep pushing the boundaries of storytelling. Whether it’s producing immersive, innovative events, mentoring emerging talent, or curating fresh ways for audiences to experience stories, I’m ready for the next challenge.
I’m particularly passionate about creating space for new voices. Mentoring the next generation and platforming underrepresented creatives are priorities I plan to build on—festivals are at their best when they’re inclusive, dynamic, and future-focused.
So what’s next? More festivals, more innovation, and hopefully, more opportunities to help audiences experience the moving image in ways they never expected. At the heart of it, film festivals are about connection, and I can’t wait to keep finding new ways to make that magic happen.
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